#western folk songs

[nopeferatu]

The official tracklist for Brokeback Mountain is here, and I am SCREAMING

[akallabeth-joie]

My Fourth of July playlist is 50% Green Day, 31% Pete Seeger, 9% Bob Dylan, and 3% Canadian novelty songs complaining about the US monopolizing the term "American."

[usertoxicyaoi]

ughhhh if only discovering new music could be classed as a professional hobby 😔.

[write-with-abandon]

"Well when I die, take my saddle from the wall

Put it on my pony, and lead him from his stall

Tie my bones to his back, turn our faces to the west;

And we'll ride the prairie,

That we like the best"

~Old Paint (AKA 'I Ride an Old Paint'), as performed by Linda Ronstadt

[buysomecheese]

The Lumineers and the Wilson family *cries*

[fraulein-ciano]

Sometimes I sing folk and country songs in the shower in Eunice's voice. Found a good recording app and decided to record one for the funzies. Based on the old classic, "Shenandoah", I changed the lyrics to be about the River Dessarin. Younz grew up in the river's valley, and as a young woman out in the world for the first time, away from her family she gets homesick. I thought this song captures that pretty well.

[personalsound]

comfy in my bed

like a coffin the ground

bury me deep, six feet down

[telltalesketch]

Down the murder folk hole I goooo

[transformationofmatter]

please do look it up if you dont know the date bc there may be at least an approximate answer and otherwise the last option will completely dominate and this poll will be boring.

and dont be like 'but i cant sing'... just answer the earliest tune you know well enough that you COULD sing it

periods of western classical music provided only for reference

[honeyvenommusic]

.

[gripes-withthesun]

Starting a writeblr tag game, reblog this and tag with what aspect of your wip are you most excited about/hope people will appreciate?

[stillalittlelostngl]

The impact of the person who first wrote omegaverse....I wonder where they are and if they know their idea was used to determine ai was using fanfiction as data for the stories & chat bots it makes

[zedecksiew]

DECOLONISING D&D

In 2019, after seeing yet another round of alarmist discourse in Xwitter about how Dungeons & Dragons is FULL of COLONIALIST tropes and patterns, and needs to be revised, SCRUBBED of its PROBLEMATIC FILTH---I rage-tweeted this brainfart:

"Decolonising D&D"

I've seen this thread round the community, since. Humza K quotes it in Productive Scab-picking: On Oppressive Themes in Gaming. Prismatic Wasteland quotes it in Apolitical RPGs Don't Exist. Most recently, it was referenced in a 1999AD post about Western TTRPGs (an interesting discussion on its own merit; one that already has a counterpoint from Sandro / Fail Forward.)

If folks are still referring to it five years later, maybe I should give the thread a little more credit? Perhaps the fart miasma has crystalised into something concrete.

In the interest of record / saving this thought from the ephemerality of Xwitter, here is the text in full, properly paragraphed, and somewhat more cleanly expressed:

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"DECOLONISING D&D"

Firstly: saying "D&D is colonialist" is similar to saying: "the English language is colonialist".

If your method of decolonising RPGs is to abandon D&D---well, some folks abandon English; they don't want to work in the language of the coloniser. More power to them!

For those who want to continue using the "language" of D&D---

Going forth into the "wild hinterland" (as if this weren't somebody's homeland);

to "seek treasure" (as if this didn't belong to anybody);

and "slay monsters" (monsters to whom?)

Yeah. There's some problematic stuff here, and definitely these aspects should make more people uncomfortable.

But! I think it is an error to "decolonise D&D" by scrubbing such content from the game.

That feels like erasure; like an unwillingness to face history / context; like a way to appease one's own settler guilt.

Do you live in the West? Do you live in any Asian urban metropole? White or Person of Colour(tm)---you are already complicit in colonialist / capitalist (yes, of course they are inextricably linked) behaviour. (I can't speak for urban metropoles elsewhere, but I bet they are similar centres of extraction.)

Removing such patterns from the TTRPGs you play might let you feel better, at your game table. But won't change what you are.

I think it is more truthful and more useful NOT to avert one's eyes from D&D's colonialism.

The fact that going forth into the hinterland to seek treasure and slay monsters is a thing, and fucking fun, tells us valuable things about the shape and psychology of colonialism. Why conquistadors in the past did it; why liberal foreign policy, corporations, and post-colonial societies do it today.

Speaking personally:

I write stuff that evokes / deals with the context I'm in---Southeast Asia. An intrinsic part of that is looking at the ways colonial violence has happened to us---as well as the ways / reasons we now, supposedly free, perpetrate it on others.

A long chain of suffering. Heavy stuff.

I also write for people who want to have fun / kill monsters / pretend to be elves, of course. But for those people who want to consider serious stuff like colonialism: I offer no FIGHT THE POWER righteousness, no good feeling, no answers.

Only discomfort. Because the truth is uncomfortable.

Here's a screenshot of the Author's Note for Lorn Song of the Bachelor:

"Any text inspired by Southeast Asia has to reckon with colonialism ... This text presents a difficult situation; there are no easy solutions. "... If I offered a mechanical incentive for you to fight colonial invaders, you wouldn’t be making a moral decision, but a mercenary one. "The choice you face should echo ... the kind of calculus my grandparents faced."

I stand by that.

Also: might we be more precise and more careful about using the term "decolonising", please?

Here I quote Tuck and Yang's landmark and (sadly) still trenchant "Decolonization is not a metaphor":

"Decolonization brings about the repatriation of Indigenous land and life; it is not a metaphor for other things we want to do to improve our societies ..."

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Further Reading

So this post isn't just me reheating a hot take, here are some touchstone writings from around the TTRPG community about colonialism as a subject and mode of play in games:

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"Jim Corbett was called upon to hunt down another fifty maneaters over the course of the next 35 years. Together, those tigers had killed over 2000 people, for much the same reasons as the Champawat Tiger - injury, desperation, starvation, and habitat loss. Would you look at that. The root cause was British colonialism."

D&D Doesn't Understand What Monsters Are from Throne of Salt

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"Another effect of having colonizers in my setting would be giving players the opportunity to drive them away from the islands, their home. This maybe just be for the catharsis. After all, isn’t catharsis a big part of why we play roleplaying games?"

I’m Adding Colonizers To My Setting from Goobernut's Blog

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"When you have a slime boy and the other characters are a really fat lizard and one's playing Humpty Dumpty, it completely shatters the straight-faced serious authoritarian illusion of race, and replaces it with complete fucking nonsense. I love the idea of proliferating the number and types of "races" into absurdity, to the point where the entire logical structure of it collapses in on itself and race as a category ceases to become coherent or meaningful in any sense."

Interview with Ava Islam - Designer of the RPG Errant from Ava Islam / The Lost Bay

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"Perhaps most critically, the fundamental basis of power is not land or even money but manpower. That’s what local rulers fight over, and what Chinese commercial networks export, in return for unique island products. It’s what the European colonists really need (even if it’s not what they most desire). There is rich loot to be grabbed in the form of spices, Spanish silver, Indian gold, sea cucumbers (the Chinese love ’em), perfumes, dyes, cloth etc. so there’s ample opportunity for piracy, trade and smuggling, but the key to long-term success – the key to independent survival – is nakedly and unquestionably uniting people."

Counter-colonial Heistcrawl: previous high scores from Richard's Dystopian Pokeverse

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"They worked their own land—which they dispossessed from American Indians—or became small shop owners or opportunistic gold diggers or bounty hunters or itinerant ranchers. To me, substituting these situations for one ruled by industrial monopoly ignores that the Wild West is a perfect example of how capitalism operates outside of (or prior to) mass industry, instead being composed of self-employers and self-sustainers."

Fantastic Detours - Frontier Scum from Traverse Fantasy / Bones of Contention

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"... using the Western framing and D&D's baked-in imperialist and capitalist structure to get people earnestly participating in the experience of forming imperial power structures and the early roots of regional capitalism ... The PCs aren't the drifters on the train or the townsfolk watching with apprehension - they're the railroad itself."

An Arrow for the General: Confronting D&D-as-Western in the Kalahari from A Most Majestic Fly Whisk

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[mesetacadre]

Palace of the Republic, Berlin

The right to work at a job of one’s own choice was guaranteed by the East German constitution (Aus erster Hand, 1987). While there were some (mostly alcoholics) who continuously refused to show up for jobs offered by the state, their numbers represented only about 0.2% of the entire East German work force, and only 0.1% of the scheduled work hours of the rest of the labor force was lost due to unexcused absences (Krakat, 1996). These findings are especially noteworthy, given that people were generally protected from being fired (or otherwise penalized) for failing to show up for work or for not working productively (Thuet, 1985). The importance of the communist characteristic of full employment to workers is reflected in a 1999 survey of eastern Germans that indicated about 70% of them felt they had meaningfully less job security in the unified capitalist country in the 1990s than they did in communist East Germany (Kramm, 1999)

The Triumph of Evil, A. Murphy (2002)

The GDR had more theatres per capita than any other country in the world and in no other country were there more orchestras in relation to population size or territory. With 90 professional orchestras, GDR citizens had three times more opportunity of accessing live music, than those in the FRG, 7.5 times more than in the USA and 30 times more than in the UK. It also had one of the world’s highest book publishing figures. This small country with its very limited economic resources, even in the fifties was spending double the amount on cultural activities as the FRG. Every town of 30,000 or more inhabitants in the GDR had its theatre and cinema as well as other cultural venues. [...] Subsidised tickets to the theatre and concerts were always priced so that everyone could afford to go. Many factories and institutions had regular block-bookings for their workers which were avidly taken up. School pupils from the age of 14 were also encouraged to go to the theatre once a month and schools were able to obtain subsidised tickets. [...] All towns and even many villages had their own ‘Houses of Culture’, owned by the local communities and open for all to use. These were places that offered performance venues, workshop space and facilities for celebratory gatherings, discos, drama groups etc. There was a lively culture of local music and folk-song groups, as well as classical musical performance.

Stasi State or Socialist Paradise? The German Democratic Republic and What Became of It, Bruni de la Motte and John Green (2015)

Work itself was elevated to a place of pride and esteem and, even if you were in a lower paid job, you were valued for the work you did as a necessary contribution to the functioning of society. The socialist countries were also designated ‘workers’ states and it was not merely an empty phrase when the GDR government argued that the workers, who produced the commodities that society needed, should be placed at the forefront of society. Those who did heavy manual work, like miners or steel workers, enjoyed certain privileges: better wages and health care than those in less strenuous or dangerous professions. The GDR had one of the most comprehensive workers’ rights legislation of any other country in the world. From 1950 onwards, there was a guaranteed right to work. This right applied to everybody, including disabled people and those with criminal records. Employers were made responsible for the training and integration of everyone. This meant that everybody felt they had a place in society and were needed. This was particularly important for disabled people and those who wanted a new start in life after being convicted of a crime. Working people were under a much more relaxed discipline in the workplace. Because there was job security and it was almost impossible to be sacked, an authoritarian discipline was difficult, if not impossible, to achieve. In Western countries work discipline is invariably enforced by the implicit threat of job loss. In the GDR, only in cases of serious misconduct or incompetence would employees be sacked. There were individual cases where employees were sacked illegally for what was considered ‘oppositional’ or ‘anti-state behaviour’, but usually the sanction would involve demotion or being transferred to a different workplace. This job security gave employees a sense of confidence and a considerable power in the workplace. It meant that workers could and would voice criticism over inefficiencies or bad management without having to fear for their job. Job security and lack of fear about losing it was probably one of the greatest advantages the socialist system offered working people. Even in cases where a worker was sacked from one job, other alternative work would be offered, even if not on the same level. The other side of the coin was that there was also a social obligation to work - the GDR had no system of unemployment benefit, because the concept of unemployment did not exist.

Stasi State or Socialist Paradise? The German Democratic Republic and What Became of It, Bruni de la Motte and John Green (2015)

[sage-nebula]

"Suffer No Fools" - Shiver vs. Marina Analysis

It's been a few days since "Suffer No Fools" released, but I wanted to go ahead and release my analysis of Shiver's and Marina's verse since that's the one that has caused the most discussion within the fandom. I've seen a lot of debate over Marina's section in particular, with people unsure whether she was being sincere or sarcastic, and I think the actual answer is a little more complicated than one or the other, at least with regards to the first couplet of lines both she and Shiver sing. Of course, people are free to interpret this song however they wish, but after seeing numerous interpretations I personally didn't vibe with, I just wanted to put my own out there, breaking it down line by line.

So! Here we go.

Exchange 1:

Shiver: "Your haunting voice -- there's no escape. How nice it must be for your fans." Marina: "You're far too kind! I love your vibe. I can learn so much from your style."

Analyzing from dialogue only:

Shiver is insulting Marina's voice by calling it haunting and saying there is no escape, insinuating she wishes there was one. She says how nice it must be for Marina's fans, again implying that she isn't one.

Marina says that she loves Shiver's vibe, which on the surface could be a compliment, but given the context (a music battle) it could also be a Mean Girl "ooh I love your [thing] :)" passive-aggressive drawing-attention-to-something-ugly insult. More direct though, is the "I can learn so much from your style"; you can learn what not to do from someone just as much as you can learn what to do from someone. Marina's engaging in plausible deniability here.

HOWEVER. Lyrics are NOT the only thing that need to be analyzed from this first verse, which is arguably the MOST important exchange between these two. Instead, we need to look at how these lines are delivered.

Shiver is singing in a traditional Japanese folk singing style, specifically a style based on Shima-uta, which her voice actress has a background singing in. Unfortunately, I don't know the actual term for this style of singing, only that it's not kakegoe, something Shiver also does that is different from this. Anyway, in these lines specifically Shiver is singing in her Shima-uta style, a style that she has presumably been practicing since she was a small child, a style that is probably culturally significant to the Hohojiro clan. Singing in this style is not something that just anyone can do. It's completely different from singing in a (for lack of a better word) "western" style. The way you breathe is completely different. The way you incorporate your voice into your breathing is completely different. So by singing in this style, which Shiver has been doing practically her whole life and which, presumably, only she of the four there can do, Shiver is FLEXING on Marina regardless of what lyrics she chooses to sing.

But then Marina, who grew up under the domes in Inkadia, who presumably has never heard Shima-uta before she started listening to Deep Cut and heard Shiver sing, who presumably has had absolutely no training whatsoever on this style of song . . . mimics it perfectly and flexes on Shiver right back.

Could Marina's words to Shiver be interpreted as passive-aggressive in turn? Yes. But does it matter? No, not really. Because in this first verse, Marina's ACTUAL comeback is to take the style of singing that Shiver has been perfecting her entire life and throw it right back in her face despite having never (as far as we or Shiver know) practiced it herself. Shiver was flexing by presumably doing something Marina couldn't do, only for Marina to do it flawlessly, being every bit as divine with a voice so fine as Pearl said she was previously. Marina says "I love your vibe" so she takes it. Marina says "I have so much to learn from you" but does she really, when she can already do exactly what Shiver can, and has, just now, right in front of her?

And Shiver noticed, hence:

Exchange 2:

Shiver: "You remind me of my neighbor's little daughter . . . What's that saying? 'Octo see, octo do.'" Marina: "Glad you approve -- your praise has left me moved. Thanks to your notes, I'll find my groove!"

Shiver drops the Shima-uta singing, because now there's no point. Marina can also sing in that style, so it's no longer a flex. Shiver lost ground on that one, so instead we're back to the same (again, for lack of a better word) "regular" style of singing that everyone else is using. For that reason, we can go back to analyzing purely based on the words alone.

Shiver is calling Marina a copycat, essentially, because Marina copied her Shima-uta singing style in the previous verse (hence why Shiver had to drop it, as previously noted). Marina then gives her "glad you approve -- your praise has left me moved" . . . basically noting that by Shiver accusing her of copying, Shiver is saying that Marina -- someone who just tried the singing style off the cuff right there on the stage for the first time -- was just as good as Shiver, someone who has trained in that style her whole life. The audience saw for themselves that Marina was able to emulate the style, but Shiver saying, "you copied me!" is basically admitting that Marina was just as good as her in Shiver's own eyes, and Shiver is a pro. That's Shiver's aggravation handing Marina the win and Marina smiling wide as she accepts it.

Exchange 3:

Shiver: "Oh, look at the time. Isn't it getting late?" Marina: "Not at all! I could go on like this all night long."

This one doesn't even really need an analysis. For all that she prides herself on being "so cool even sharks call her cold-blooded," Shiver is known for being easily irritated and riled when she's losing due to her competitive nature. Marina successfully got under her skin, and this is her trying to end the battle fast because she didn't have any further comebacks. Marina, meanwhile, gives the classic "I could go on all night" because she's not riled at all, and is instead perfectly comfortable in this environment, knows what she's doing, and has had the upper hand from the start.

It goes back to another post I made about Experience vs. Inexperience. Shiver and Frye are still new idols, whereas Pearl and Marina have been at this for a long while. And while off the stage Marina is a sweet, kind, gentle person who will go out of her way to help others, and can sometimes be a little spacey or naive, she's also a 23-year-old literal genius who has been in the music industry for years now and knows full well what a rap / music battle is and knows her way around a stage. Personally, I found it to be a little infantilizing to insinuate that she "didn't realize Shiver was insulting her," when not only do I think she knew full well, but also she was the one with the upper hand not because of sick burns (that's Pearl's department), but because of sheer innate musical talent.

But those are just my thoughts! Everyone else is free to have their own.

[pubbamoon]

Venus signs and your music taste

Hey! Hope you're doing well. This is going to be the first (and maybe last, haha) post about astrology, 'cause I've been into that thing for five years, I guess. Since I'm interested in music, my first astrology observation will be about how someone's Venus sign can affect someone's music taste. It's also a Friday, a Venus-ruled day. So, let's go!? This is based on the tropical/western astrology. Take it as it resonates and leave what doesn't.

Venus in Aries: Oh well, that's the wild one! People with this Venus may love listening to kind of music which makes them confident, or you should use the music this way. Aries naturally rules over the 1st house of self and personality, so you guys with Aries Venus might listen to the song/music which resonates to your character or describes your life path. On the other hand, you may love energetic and bold type of music that can move you, something like EDM or Dance music!? Venus is in detriment in Aries, which is not a good sign in default. That means you might love type of music that is not well perceived by the music critics. You may also love rap/hip-hop music as well.

Venus in Taurus: Venus is in domicile in Taurus, which means that Venus is in own sing since it naturally rules over Taurus sign (and the 2nd house as well). This is a great sign for Venus to be in, music literally runs in your blood (take it as it resonates). You may love the type of music that grounds you and makes you peaceful. You can also prefer quality over quantity and listen to the songs that has some value or quality. Overall, you might love listening to music that is perceived as normal, stable or even predictable. Taurus is an earth sign, after all. Venus in Gemini: This sign rules the 3rd house of communication, words and self-expression, so you might prefer the lyrics when it comes to music. It doesn't have to be the case with all of you with Gemini Venus, but it can be (lol, what was that?). You may love to listen to the music that is relatable to you and your life circumstances. Your favorite artists could be singer-songwriters, who put their own lyrics first and who express themself freely. You can also listen to the different kind of music, since Gemini is the mutable sign, represented by the twins, which makes Gemini a dual sign. Your music taste is really versatile with this placement.

Venus in Cancer: You may love emotional type of music that gives you some kind of comfort. Cancer rules the 4th house of comfort and emotions, which makes sense. Moon is the natural ruler of Cancer and is associated with the homeland, which means that when it comes to music, you might listen to traditional or even patriarchal type of music that is related to you birth land/country or you love listening to the songs where your homeland is celebrated. Your favorite music genre could be folk, country or any other music genre that relates to your culture. Finally, you may love music that sounds familiar or nostalgic and this could mean listening to the retro music from the older times.

Venus in Leo: Similar with the Aries Venus, you may love listening to the music that boosts your confidence. Since Leo rules over the 5th house of creativity and hobbies, you don't like to be told what to listen to and don't rely on trends. You might also like romantic type of music, 'cause 5th house is associated with romance and short-term relationships. Your music playlist could be filled with a lot of shiny and bright songs that give you joy.

Venus in Virgo: I can sense that you are so picky while choosing the songs for playlists or while listening to the music in general. You may seek for perfection in every part of the song, the perfect lyrics, perfect instrumentals, perfect production etc. I feel like you always read the reviews written by music critics before choosing to listening anything, 'cause you're all so skeptical and suspicious. Venus is debilitated/in fall in Virgo, which means that Virgo is the worst sign possible for Venus. This basically correlates everything that I said about this placement.

Venus in Libra: Another domiciled position for Venus, which is great. Libra is a people-oriented sign and it rules over the 7th house of partnerships, marriage and long-term relationships, so you may love listening to songs with this type of themes. You might also like love songs or collaborations. It can be hard sometimes to choose what's your favorite artist, 'cause it seems to me that you may like both or every artist the same way, which makes sense since Libra is all about balancing things in our life.

Venus in Scorpio: First of all, it feels that you're pretty passionate about music. Second of all, you may like intense, dark type of music and your favorite artist is likely who can express raw emotions. You possibly hide your music playlist on Spotify (or on any other platforms) because of shame or you just don't want people to see you music taste. The themes of songs you may like to hear in songs are mostly breakups, criminal, transformations etc. You may listen to music to heal your wounds too. You may also feel like you rise like a Phoenix when you listen to the music.

Venus in Sagittarius: This placement tells me that you may possibly like optimistic type of music which is made for parties. The songs you listen to might be translucent or airy which make you want to dance or jump. The songs you like could also have deep meaning, since Sagittarius and 9th house are associated with philosophies, knowledge and wisdom. You may like music with a good atmosphere or which can make you feel good. This is such a funny and adventurous placement, love that.

Venus in Capricorn: It seems to me that you might have a serious approach when it comes to music. You may like quality, elegant, or even classical music (this won't apply for everyone). You don't mind when a particular song lasts more than five minutes, you even like to listen to long songs, 'cause Saturn represents longevity. By saying that, you like to listen to the music that ages like fine wine. Maybe you like to read reviews before listening to song or album. I have this placement in my tropical natal chart and I check the reviews out before listening to the whole body of work, haha lol.

Venus in Aquarius: Hmm, I think there's two sides of this placement. The first ones with this placement love to listen to experimental and eccentric type of music. When it comes to music, they like to stand out from the crowd and listen to something what is considered weird by societal norms. Aquarius sign always reminds me of the hippie culture from the 1960s. The second ones having this placements are one of the basic people out there, they listen to something that everyone listens to and they don't mind following the trends. Mind you that Aquarius rules the 11th house of the collective, masses of people, so it's not unusual for Aquarius Venus people to listen to something that is mainstream.

Venus in Pisces: Venus is exalted in Pisces, which means that Venus functions well here. Pisces rules over the 12th house of foreign culture, something hidden, and it's also associated with oceans. This tells me that you may like more listening to the music that comes from the different land or culture than yours. You can use music to heal yourself or to process your deep emotions. Similar with Scorpio Venus, you may also hide your music playlist from everyone else, 'cause you value privacy when it comes to the thing you love. This placement can indicate great taste of music or listening to the bunch of artists who aren't mainstream or who express their emotions.

That is everything I have to write. Hope you like this observation of mine. Make sure to care about yourself and do something you love to do. It's Friday, the Venus-ruled day after all.

Best regards,

Paky McGee